Irony (from the Ancient Greekεἰρωνείαeirōneía, meaning hypocrisy, deception, or feigned ignorance) is a literary or rhetorical device, in which there is an incongruity or discordance between what one says or does and what one means or what is generally understood. Irony is a mode of expression that calls attention to the character’s knowledge and that of the audience.

There is some argument about what qualifies as ironic, but all senses of irony revolve around the perceived notion of an incongruity between what is expressed and what is intended, or between an understanding or expectation of a reality and what actually happens, “when the literal truth is in direct discordance to the perceived truth.”

Henry Watson Fowler, in The King’s English, says “any definition of irony – though hundreds might be given, and very few of them would be accepted – must include this, that the surface meaning and the underlying meaning of what is said are not the same.”

The word ‘ironic’ is sometimes used as a synonym for incongruous or coincidental in situations where there is no “double audience,” and no contradiction between the ostensible and true meaning of the words. An example of such usage:

Ironically, Sir Arthur Sullivan is remembered for the comic operas he found embarrassing, rather than the serious works he hoped would be his legacy.

The American Heritage Dictionary recognizes a secondary meaning for irony: “incongruity between what might be expected and what actually occurs.” This sense, however, is not synonymous with “incongruous” but merely a definition of dramatic or situational irony. The American Heritage Dictionary’s usage panel found it unacceptable to use the word ironic to describe mere unfortunate coincidences or surprising disappointments that “suggest no particular lessons about human vanity or folly.”

The simplest definition of irony is “the use of words to convey a meaning that is the opposite of its literal meaning: the irony of her reply, “How nice!” when I said I had to work all weekend”

These modern theories of rhetoric distinguish between three types of irony: verbal, dramatic and situational.

Verbal irony is a disparity of expression and intention: when a speaker says one thing but means another, or when a literal meaning is contrary to its intended effect. An example of this is sarcasm.

Dramatic irony is a disparity of expression and awareness: when words and actions possess a significance that the listener or audience understands, but the speaker or character does not.

Situational irony is the disparity of intention and result: when the result of an action is contrary to the desired or expected effect. Likewise, cosmic irony is disparity between human desires and the harsh realities of the outside world (or the whims of the gods). By some definitions, situational irony and cosmic irony are not irony at all.

Verbal irony is distinguished from situational irony and dramatic irony in that it is produced intentionally by speakers. For instance, if a speaker exclaims, “I’m not upset!” but reveals an upset emotional state through her voice while truly trying to claim she’s not upset, it would not be verbal irony by virtue of its verbal manifestation (it would, however, be situational irony). But if the same speaker said the same words and intended to communicate that she was upset by claiming she was not, the utterance would be verbal irony. This distinction gets at an important aspect of verbal irony: speakers communicate implied propositions that are intentionally contradictory to the propositions contained in the words themselves. There are examples of verbal irony that do not rely on saying the opposite of what one means, and there are cases where all the traditional criteria of irony exist and the utterance is not ironic.

Ironic similes are a form of verbal irony where a speaker does intend to communicate the opposite of what they mean. For instance, the following explicit similes have the form of a statement that means P but which conveys the meaning not P:

The irony is recognizable in each case only by using stereotypical knowledge of the source concepts (e.g., mud, root-canal surgery) to detect an incongruity.

A fair amount of confusion has surrounded the issue regarding the relationship between verbal irony and sarcasm, and psychology researchers have addressed the issue directly (e.g., Lee & Katz, 1998). For example, ridicule is an important aspect of sarcasm, but not verbal irony in general. By this account, sarcasm is a particular kind of personal criticism leveled against a person or group of persons that incorporates verbal irony. For example, a person reports to her friend that rather than going to a medical doctor to treat her ovarian cancer, she has decided to see a spiritual healer instead. In response her friend says sarcastically, “Great idea! I hear they do fine work!” The friend could have also replied with any number of ironic expressions that should not be labeled as sarcasm exactly, but still have many shared elements with sarcasm.

Most instances of verbal irony are labeled by research subjects as sarcastic, suggesting that the term sarcasm is more widely used than its technical definition suggests it should be (Bryant & Fox Tree, 2002; Gibbs, 2000). Some psycholinguistic theorists (e.g., Gibbs, 2000) suggest that sarcasm (“Great idea!”, “I hear they do fine work.”), hyperbole (“That’s the best idea I have heard in years!”), understatement (“Sure, what the hell, it’s only cancer…”), rhetorical questions (“What, does your spirit have cancer?”), double entendre (“I’ll bet if you do that, you’ll be communing with spirits in no time…”) and jocularity (“Get them to fix your bad back while you’re at it.”) should all be considered forms of verbal irony. The differences between these tropes can be quite subtle, and relate to typical emotional reactions of listeners, and the rhetorical goals of the speakers. Regardless of the various ways theorists categorize figurative language types, people in conversation are attempting to decode speaker intentions and discourse goals, and are not generally identifying, by name, the kinds of tropes used.

In drama, the device of giving the spectator an item of information that at least one of the characters in the narrative is unaware of (at least consciously), thus placing the spectator a step ahead of at least one of the characters. Dramatic irony has three stages – installation, exploitation and resolution (often also called preparation, suspension and resolution) – producing dramatic conflict in what one character relies or appears to rely upon, the contrary of which is known by observers (especially the audience; sometimes to other characters within the drama) to be true.

In Cyrano de Bergerac, the reader knows that Cyrano loves Roxane and that he is the real author of the letters that Christian is writing to the young woman; Roxane is unaware of this.

In North by Northwest, the audience knows that Roger Thornhill (Cary Grant) is not Kaplan; Vandamm (James Mason) and his acolytes do not. The audience also knows that Kaplan is a fictitious agent invented by the CIA; Roger and Vandamm do not.

In Oedipus the King, the reader knows that Oedipus himself is the murderer that he is seeking; Oedipus, Creon and Jocasta do not.

In Othello, the audience knows that Desdemona has been faithful to Othello, but Othello doesn’t. The audience also knows that Iago is pulling the strings, a fact hidden from Othello, Desdemona, Cassio and Roderigo.

In Pygmalion, the audience knows that Eliza is a woman of the street; Higgins’s family does not.

In Cask of Amontillado, the reader knows something bad is going to happen to Fortunato; Fortunato is oblivious.

In I am the Cheese. the reader knows that Adam is in a mental hospital, and that he was in a car crash, but Adam does not.

Linda Hutcheon suggests that, by removing the semantic security of the one signifier, one signified equivalency, irony threatens authoritative models of discourse.[1]

Irony has some of its foundation in the onlooker’s perception of paradox which arises from insoluble problems.

For example:

In the William Shakespeare play Romeo and Juliet, when Romeo finds Juliet in a drugged death-like sleep, he assumes her to be dead and kills himself. Upon awakening to find her dead lover beside her, Juliet kills herself with his dagger.

This is a relatively modern use of the term, and describes a discrepancy between the expected result and actual results when enlivened by ‘perverse appropriateness’.

For example:

When John Hinckley attempted to assassinate President Ronald Reagan, all of his shots initially missed the President; however a bullet ricocheted off the bullet-proof Presidential limousine and struck Reagan in the chest. Thus, a vehicle made to protect the President from gunfire was partially responsible for his being shot.[2]

The Wonderful Wizard of Oz is a story whose plot revolves around irony. Dorothy travels to a wizard and fulfills her challenging demands to go home, before discovering she had the ability to go back home all the time. The Scarecrow longs for intelligence, only to discover he is already a genius, and the Tin Woodsman longs to be capable of love, only to discover he already has a heart. The Lion, who at first appears to be a whimpering coward, turns out to be bold and fearless. The people in Emerald City believe the Wizard to have been a powerful deity, only to discover he was a bumbling eccentric old man.

After astronautGus Grissom‘s first flight into space, the hatch on his spacecraft accidentally blew off while Grissom was waiting for a rescue helicopter to fish the capsule out of the ocean, causing the capsule to fill with water and sink and Grissom to nearly drown. The hatch system was re-designed in later spacecraft to prevent similar accidents, and, while training for his third spaceflight, a fire broke out inside Grissom’s spacecraft, causing Grissom and two other astronauts to suffocate. The hatch redesign triggered by the accident with Grissom’s first spacecraft, meant to help save astronauts’ lives, prevented Grissom from being rescued in the subsequent fire accident.

The expression “irony of fate” stems from the notion that the gods (or the Fates) are amusing themselves by toying with the minds of mortals with deliberate ironic intent. Closely connected with situational irony, it arises from sharp contrasts between reality and human ideals, or between human intentions and actual results. The resulting situation is poignantly contrary to what was expected or intended. More recently in English, the mere “coincidental or unexpected” has been called ironic, and this usage appears to be gaining ground. It is still considered a minor usage. [3].

Some examples of situations poignantly contrary to expectation:

In art:

In O. Henry‘s story The Gift of the Magi, a young couple are too poor to buy each other Christmas gifts. The wife cuts off her treasured hair to sell it to a wig-maker for money to buy her husband a chain for his heirloom pocket watch. She’s shocked when she learns he had pawned his watch to buy her a set of combs for her long, beautiful, prized hair.

In the ancient Indian story of Krishna, King Kansa is told in a prophecy that a child of his sister Devaki would kill him. In order to prevent it, he imprisons both Devaki and her husband Vasudeva, allowing them to live only if they hand over their children as soon as they are born. He murders nearly all of them one by one, but the eighth child, Krishna, is saved and raised by a cowherd couple, Nanda and Yashoda. After growing up and returning to his kingdom, Kansa is eventually killed by Krishna, as was originally predicted by the self-fulfilling prophecy. It was Kansa’s attempt to prevent the prophecy that led to it becoming a reality.

In history:

In 1974 the US Consumer Product Safety Commission had to recall 80,000 of its own lapel buttons promoting “toy safety”, because the buttons had sharp edges, used lead paint, and had small clips that could be broken off and subsequently swallowed. [4]

Importing Cane Toads to Australia to protect the environment created worse environmental problems for Australia.

Jim Fixx, who did much to popularize jogging as a form of healthy exercise in his 1977 book The Complete Book of Running, died at the age of 52 of a heart attack (a death associated with sedentary, unhealthy lifestyles) while out jogging.

When history is seen through modern eyes, it sometimes happens that there is an especially sharp contrast between the way historical figures see their world and the probable future of their world, and what actually transpired. For example, during the 1920s The New York Times repeatedly heaped scorn on crossword puzzles. In 1924 it lamented “the sinful waste in the utterly futile finding of words the letters of which will fit into a prearranged pattern”; in 1925 said “the question of whether the puzzles are beneficial or harmful is in no urgent need of an answer. The craze evidently is dying out fast”; and in 1929 judged that “The cross-word puzzle, it seems, has gone the way of all fads.” Today, no U.S. newspaper is more closely identified with the crossword than The New York Times.[citation needed] In a more tragic example of historical irony, what people now refer to as “World War I” was originally called “The War to End All Wars” or “The Great War.” Historical irony is therefore a subset of cosmic irony, but one in which the element of time is bound to play a role.

Other examples:

“They couldn’t hit an elephant at this distance.” Nearly the last words of American Civil War General John Sedgwick before being shot through the eye by a Confederate sniper.[5]

In Dallas, in response to Mrs. Connolly’s comment, “Mr. President, you can’t say that Dallas doesn’t love you,” John F. Kennedy said, “That’s very obvious.” He was assassinated immediately afterwards.

British Naval Motor Manufacturing corporations assured in 1912 that the Titanic was the world’s only ship to be 100% un-sinkable. Later that same year, the Titanic sunk in its maiden voyage after coming in contact with a small iceberg.

One point of view has it that all modern art is ironic because the viewer cannot help but compare it to previous works. For example, any portrait of a standing, non-smiling woman will naturally be compared with the Mona Lisa; the tension of meaning exists, whether the artist meant it or not.

While this does not appear to exactly conform to any of the three types of irony above, there is some evidence that the term “ironic art” is being used in this context [6]. This definition could extend to any sort of modern artistic endeavour: graphic design or music (sampling, for example).

Jane Austen’s Pride and Prejudice begins with the proposition “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” In fact, it soon becomes clear that Austen means the opposite: women (or their mothers) are always in search of, and desperately on the lookout for, a rich single man to make a husband. The irony deepens as the story promotes his romance and ends in a double wedding.

Comic irony from television sketch-comedy has the distinction over literary comic irony in that it often incorporates elements of absurdity. A classic example is where a shark tries to impress his shark friends by learning to surf. He then surfs so well that his friends mistake him for an actual surfer and eat him.[citation needed]

Comic irony has long been a staple of comic strips, in which the action is free to be unrealistic. An example is a notable Far Side cartoon in which a hapless house-cat is glued to a window watching the once-in-a-lifetime results of a collision outside between two trucks, one labeled “Bob’s Assorted Rodents” and another labeled “Al’s Small Flightless Birds”[7].

Metafictions are kinds of fiction which self-consciously address the devices of fiction. It usually involves irony and is self-reflective. Metafiction (or “romantic irony” in the sense of roman the prose fiction) refers to the effect when a story is interrupted to remind the audience or reader that it is really only a story. Examples include Henry Fielding’s interruptions of the storyline to comment on what has happened, or J.M. Barrie’s similar interjections in his book, Peter Pan. The concept is also explored in a philosophical context in Sophie’s World, by Jostein Gaarder.

Notable attempts to sustain metafiction throughout a whole novel are Christie Malry’s Own Double Entry by B.S. Johnson, in which none of the characters are real and exist only within the author’s imagination, and In The Night Room by Peter Straub, in which the narrator is an author, whose fictional character comes to life and accompanies him through the book.

Star, William T. “Irony and Satire: A Bibliography.” Irony and Satire in French Literature. Ed. University of South Carolina Department of Foreign Languages and Literatures. Columbia, SC: University of South Carolina College of Humanities and Social Sciences, 1987. 183-209.

Francisco Antonio Cerón García

The main question: What would be your next strategy step to continue developing Internet in a new radical way?
It is a way in the sense of “meta”, like Google is a “meta internet”. Do we know how to do it?
A silicon valley is essentially 90% about the people and 10% about the place. Places close to financial centres and developed cities are more likely to host the next silicon valley, but smart people can turn any place into a silicon valley if that’s what they want, even if it’s in the middle of nowhere. However, now with the Internet I believe less in silicon valleys. I mean, what’s the point of having silicon valleys when entrepreneurs and techies can network through the Net and telecommute? As everyday real life contact becomes less necessary to conduct business, we will soon start seeing the genesis of ‘virtual’ silicon valleys leveraging the power of the Internet. If Ihad to build the next silicon valley, I would start by recruiting smart people on the Internet and creating incentives for like-minded individuals and companies to participate in some sort of hub website virtual marketplace

It makes me think carefully about the next big revolutionary step on internet development. Eventually, I think that the issue that is being treated here is a key issue and it deserves a new blog to be opened for it.
Generally speaking, this is the great step that could completely change our world as far as we know it now, like when computers were created and developed or just like Google, and it is all this tiny but huge things that have been changing our way of living and the way we understand life.
This is an open question, and I want that it would be the spirit of this simple blog!
You are all invited to build the meta internet!
Then you could start thinking a lot about this issue!

Meta

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